Mon frère... mon assassin

This is a very decent movie directed by Alan Gibson, who would later become a second-rate Hammer director responsible for such dreck as "Dracula AD 1972" and "The Satanic Rites of Dracula". It features Judy Geeson, at the height of her loveliness, and Martin Potter, one of the pretty-boys from "Fellini's Satyricon", as a pair of seemingly innocent fraternal twins who come to London and are preyed upon by a crowd of jaded hedonists led by a guy named Clive (who sports flaming red mutton-chops and the strangest English accent I have ever heard).

Most of the movie resembles a more serious version of Pete Walker's "Cool It, Carol", and probably a more historically accurate one too as far as the Swinging London Era of the 1960's is concerned. The movie then veers into psycho territory, however. The twins have an unusually symbiotic relationship and display some psychopathic tendencies, like playing a nasty prank that causes their landlady to fall down the stairs. In the most memorable scene they dress up in bedsheets with only their eyes showing and challenge Clive to tell them apart. The childish game shockingly winds up with an ornamental sword going through one person's neck and everything unravels from there. Some may find the sheer pathos and the unresolved ambiguity of the end a little frustrating, but it makes for a memorable movie is nothing else.

I'd recommend this period because it is genuinely unique movie, but if you like films about Swinging London like "Blow Up" or "Cool It, Carol", or British psycho movies like "Peeping Tom" or "Twisted Nerve" this one should be especially enjoyable

The freak twins, Judy Geeson (Jacki) and Martin Potter (Julian) come to London to stay in a house in Chelsea and they immediately hit the party scene thanks to a meeting with Alexis Kanner (Clive) in a pub. Kanner is strange – he's a nasty conman who uses people but he's not as strange as the twins. Geeson and Potter are both child-like with Geeson laughing way too much at things that aren't funny and Potter being obsessively possessive about his sister. Worse, they love each other – and I mean actually love in an incestuous way that includes a physical relationship. So, it's uncomfortable viewing. The twins exact revenge on a couple of people. Are they untouchable?

This film is way too weird and not particularly enjoyable. You watch because you don't know where it's going but once watched, I think you get rid. It reminded me a bit of "Beyond the valley of the Dolls" but set amongst a seedy London party scene. Both films are not good and dish out some horror as well as peculiar characters that are scary and hard to relate to. Scary in a sexuality scary kind of way. Michael Redgrave (James) pops up in this as a familiar face on TV whilst Mike Pratt (Rodd) is probably the best in the cast as a debt collector.

As a Londoner, I recognized the locales – I spotted Cheyne Walk, Notting Hill Gate and Shepherds Bush Market and I know for a fact that there were hotels like that in Paddington in the 1980s. Dodgy ones. The central characters of the twins were just too weird.

"Goodbye Gemini" has Nehru shirts, large ties, hair helmets and sideburns, old guys hanging around with young birds, wall-to-wall partying, a dash of transvestitism, a little incest, and an atmosphere of anything goes as long as it's outrageous. It could only be the Swinging Sixties, and as they say, if you remember them, you weren't there.

The film is hard to define. It's a thriller, but with a unique vibe. Julian (Martin Potter) and Jacki (Judy Geeson) are an unnaturally close twin brother and sister who play games and live in a make-believe world. As Michael Redgrave's character says, "They carry their own universe with them". But Julian has a stronger attraction towards his sister than she has for him.

When they move to London to live in a large house arranged for them by their father, things start to unravel. We learn that all is not right when Julian viciously gets rid of the housekeeper who is in charge of the household. With the run of the house, they gravitate towards the London pub and party scene.

They meet some unsavoury characters especially Clive (Alexis Kanner), a bi-sexual pimp whose sadistic streak threatens to destroy the pair. At a party, Jacki also encounters politician, James Harrington-Smith (Michael Redgrave) who helps her when her life spirals out of control. As Jacki and Julian attempt to free themselves from Clive, it leads to a violent murder and a bleak ending.

I first became aware of this movie when I bought the soundtrack record for a few dollars back in the 1980's. Apparently it became a bit of a collector's item before it was eventually released on CD. The music and songs catch the flavour of the 60's, and composer Christopher Gunning's lyrical main theme weaves its way through the film. Gunning is a brilliant composer, mainly for television, and hasn't done many films - this was his first - but he had great range; under the right circumstances, he could have been another John Barry.

If there is one reason to watch this film it is Judy Geeson. Cute and nymph-like, she breezes through the movie for much of the time in hip-hugging satin pants, captivating all the males around her whether young, old, or closely related.

The mood in the film changes just a little too abruptly in places, but it has a similar feeling of accumulating decadence to Joseph Losey's "The Servant" - although it takes its own course towards it's depressing, typical late 60's ending.

Beautifully filmed, "Goodbye Gemini" captures London at a certain time, but to be honest, with its offbeat story and slightly hysterical treatment, it's probably more of a novelty item these days.

Twins Jacki (Judy Geeson) and Julian (Martin Potter) arrive in swinging London and quickly fall in with the wrong crowd. Well, smarmy Clive (Alexis Kanner) to be more specific. Clive worms his way between the tight bond the twins have and, after he threatens to blackmail Julian, some killing goes down. This is a pretty minor horror-thriller as nothing really happens for the first 50 minutes. After that, it is a half hour of overwrought drama as Jacki runs from the law and gets help from an old guy. The film's biggest merit is probably the capturing the bars, folks and style of late 60s swinging London. Oh, and the hippest debt collector you will ever see. There is also some pretty snappy dialog and Kanner is really good as the would-be blackmailer.

Twins arrive in London on an overnight bus wearing matching fluorescent jackets and clutching a teddy-bear (always a sign of evil). They've not even unpacked their bags before they murder their new landlady and get invited to an inevitably swinging' party. Jacki (Judy Geeson) is the female half of the twins and looks lovely even in the aforementioned garment, which is more than can be said for Julian (Martin Potter). He's the possessive twin who swings both ways and whose love for his sister is less than wholesome. They attend a few parties, talk to their teddy and get mixed up with some menacing Earls Court transvestites, a liaison that leads to blackmail and murder.

There's nothing here that can really be called a narrative, it's more like someone thought a swinging London movie with a psycho tilt would be really groovy. However, the film is based upon Ask Agamemnon by Jenni Hall (no, I've never heard of it, either). Despite the wavering storyline it's a strangely compelling film with an admirable wildness. The cast are game, except Michael Redgrave who has the air of an actor unaccustomed to such material. The camera-work from Geoffrey Unsworth is as exceptional as ever, tut the psychotic tone is best summed up by The Peddlers funky theme song: ('when the world comes knocking') Tell The World We're Not In.